Pictograms for the 1968 Mexico Olympics, designed by Lance Wyman (image: Virtual Olympic Games Museum)
Of all the instances in which graphic communication is necessary to transcend language barriers, the Olympic Games are, if not the most important, probably the most visible 레미제라블 무료. We take the little icons of swimmers and sprinters as a given aspect of Olympic design, but the pictograms were a mid-20th Century invention—first employed, in fact, the last time London hosted the games, in 1948 (some pictographic gestures were made at the 1936 Berlin games, though their mark on international memory has been permitted to fade because of their association with Third Reich ideology) 다운로드.
The 1948 London pictograms were not a system of communication so much as a series of illustrations depicting each of the competitive sports, as well as the arts competition, which existed from 1912 to 1952 and included architecture, literature, music, painting and sculpture 샤롯데체 다운로드. In 1964, the Tokyo games took pictogram design to the next level by creating a complete system of typography, colors and symbols that would be applied across Olympic communications platforms 다운로드.
In a paper on the history of Olympic design and national history, Jilly Traganou, an associate professor at The New School, writes:
Since Japan had not adopted the principles of the International Traffic Signs, introduced at the United Nations Geneva conference in 1949 and accepted by most European countries, the Olympics were regarded by graphic designers as an opportunity to establish a more unified and internationally legible symbolic language across the country 다운로드. It was along these lines, searching for universally understood visual languages, that pictograms (ekotoba, in Japanese, a word used prior to the design of pictograms) were for the first time designed for the Olympic Games, embodying at the same time [founder of the International Olympic Committee] Baron deCoubertinʼs aspirations of universalism 컴퓨터 바탕화면 다운로드.
Since its inception 42 years ago, Comic-Con International has been a celebration of fanboy culture 다운로드. When geek became the new cool, it also worked as a marketing platform for Hollywood and video game makers. Now, it’s the place where the television industry comes to build buzz for new shows and reward the audiences of established ones 다운로드.
More than 80 television series courted the crowds at Comic-Con last year with premieres, panels and promotional events. This year in San Diego, the numbers are just as high – and the visibility even greater 다운로드.
“It’s become a tentpole for us,” says Richard Licata, executive vice president, communications, for NBC Entertainment and Universal Television, echoing the sentiments of many network and studio marketing and publicity heads 다운로드. “It’s the Super Bowl of response.”
Timing has something to do with it; the dates of Comic-Con make it a perfect place to preview fall shows 다운로드. Corralling the talent is also a breeze – television has no Sundance or Cannes, making Comic-Con one of the few places on the planet where a television writer is treated like a rock star by screaming thousands 다운로드.
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Broken down by subject and/or category, here are several top-notch self-education resources I have bookmarked online over the past few years.
